小野川直樹

*English follows Japanese

物語 2020/01/17

『平和のために折り鶴を折る』という事に違和感を抱いたのは、最近のことではありません。

よく「折り鶴は平和の象徴」と耳にします。戦後、折り鶴は広島や長崎に送られていますが、毎年何トンという 膨大な量が届くのだそうです。彷徨っている気持ちの吐き場所であり、その繰り返されている惰性の様なものに違 和感を感じるのです。平和を願う気持ちというものはとても尊重しています。しかし、そこには自分と折り鶴とを
繋ぐものや、自分の考える折り鶴の「居場所」というものは、ありませんでした。

幼少期の頃に熱中した折り紙。その中でも特に有名な伝承折り紙の一つである「折り鶴」。そこに自分の軸にな るものと共に、「なにか」があると感じています。

2011 年に東北で震災がありました。翌年の 4 月に岩手県陸前高田へと赴き、現地の方の話を聞き、実際に町を 見て回りました。自然の驚異の前では人間は何もできないのだと恐ろしく、また、その中で輝く生命の力強さも受 けました。いつの時代も、人種も性別も社会的地位も関係なく襲ってくる自然の脅威と向き合い、しかし時にあや かり、共存しているのだと改めて感じます。そしてその体験は同時に、いまを生きている、ということをハッキリ と意識させられる様です。
その様な中で、津波に流された校舎の瓦礫脇に置かれた千羽鶴を見て、ハッとしました。 それまでの折り鶴に纏わりつく、平和と戦争とは何の関わりもない場所に存在する折り鶴に対して、なぜか腑に落 ちてしまったからです。それはまるで行き場のない気持ちを折り鶴に託し、この世ではない場所を行き来するよう にと祈りを込めた孤独な儀式の様でした。うまく言葉では表現できませんが、今、折り上げている折り鶴はそうい った厳かな「祈り」からきているものなのかもしれません。またその様な事柄を作品に落とし込むことで、折り鶴 の「居場所」を創り上げています。
改めて見つめ直してみると、折り鶴はどこか尊く、また神秘的な「なにか」がひそんでいる様に感じます。そして、 それはまた、私の信じている「美しさ」でもありました。

ひとりひとりが自分なりの「折り鶴」との歴史を持っているかと思います。どの様に感じてどの様に思いを重ね るかは人それぞれですが、作品との対話を通し、心を揺さぶる「なにか」が生まれることを願っています。

 

– My Journey with Origami Cranes –

I have long found the practice of folding origami (folding paper) cranes for the sake of peace to be a peculiar custom.

I often hear people refer to origami cranes as a symbol of peace. Since the end of World War II, people from all around are said to ship paper cranes to Hiroshima and Nagasaki. Even now, apparently people continue to send exorbitant amounts – several tons – of cranes to both cities every year. What strikes me as odd about these paper cranes is how they function as a vessel for people’s unrequited emotions – and how their makers, almost by habit or instinct, choose to fold them over and over again. I have great reverence for the act of praying for peace. But in this dynamic, I felt that there was nothing there that connects me to the cranes – and that the cranes are, at least in my mind, not where they were supposed to be.

In my youth, origami – or the art of paper folding – was a passion of mine. Among the forms you can find in origami, the origami crane stands apart as a particularly famous, traditional form of the art. Within the cranes I see a central point of reference for myself, together with a special “something” – a special quality.

In 2011, the Tohoku region in Japan suffered the Great East Japan Earthquake Disaster, and I made my way to Rikuzen Takata, a city in Iwate Prefecture – one region hit by the disaster – in April the following year. There, I spoke with many of the locals and walked about the town. I found myself in terror of how powerless we humans are in the face of nature’s wonder; yet at the same time, I felt empowered by the power of life, vitality, that shined so brightly in the aftermath of its wrath. I am again reminded that regardless of the times, mankind comes face to face with the threat of nature – a force with little regard for race, gender, or social status. And yet, from time to time, we also live in harmony with nature and flourish with its blessings. This experience reminded me of this fact, and also made me aware: I am here, alive, in this moment.

In the midst of all of that I felt and saw, I happened to notice a bundle of one thousand paper cranes placed at the wreckage of a local school building swept away from the tsunami. I was taken aback by the sight of it.

Up until that point, I felt that war and peace were concepts to tightly linked to these cranes. But at moment, I found them in a place untouched by these notions. This is what shocked me – for some reason, I felt like it made sense for them to be there. It was like witnessing the result of a desolate ritual – where people channeled their unsettled feelings into these cranes. And here they exist – spirited with prayers that they would go back and forward to and from a world beyond here. I struggle to find the words to describe it, but I think that maybe the cranes that I fold now come from that place of solemn prayer. And with those matters in mind, I create these works with the intention of giving origami cranes a place to belong.

In reflection, I feel that something about origami cranes is sacred – that within them, they harbor something of mystery, of the mystic. And these are the truth in the concept of “beauty” that I have faith in.

I believe that each person familiar with cranes has their own history with them. How each person feels about them and holds these cranes in their mind is unique, but it is my hope that my works allow for new dialogue. Through that dialogue, it is my hope that there is something, whatever it is, that stirs the heart of the viewer.

経歴

【Solo Exhibitions】
2016.11/1-27 「これまでとこれから」 そごう西武渋谷店 B館8階美術画廊 オルタナティブスペース
2017.6/7-8/1 「彩」 日本橋高島屋 2階 アートアベニュー

【Public works】
2017 「The Art of J」 JAL 海外向けキャンペーン webムービー 「Privacy」
2017 「Infini Love」 周生生 Chow Sang Sang Juelly webムービー
2017 「CHRISTIE'S Magazine」 Yusuke Maezawa : The record-breaking art collector
2018 「Journey to the World of HOKUSAI」 - The Art of J - NewYork, Grand Central Terminal
2018 「MIMARU 水天宮前」 アパートメントホテル MIMARU 水天宮前 エントランスにて常設展示「暁」
2018「Princess Cruise」『The Secret Silk』日本初演記念 「Ao」2018